The Windsor Feminist Theatre’s production of “The Yellow Wallpaper,” adapted by Rebecca S. Mickle from Charlotte Perkins Gilman’s iconic feminist short story, is a haunting foray into the psyche of a woman battling with societal and mental constraints. The play, which opened on January 19th at The Shadowbox Theatre in Windsor, not only marks the first sellout of 2024 but also a significant stride in feminist theatre.
Set in a single bedroom, the stage becomes a character in itself, thanks to the collaborative efforts of director Fay Lynn and Mickle in set design. The wallpaper, central to the narrative, is a living, breathing entity, evolving each night as it is torn, scratched, and even consumed. This dynamic set piece is crucial in depicting the protagonist’s deteriorating sanity and entrapment within her own mind and the oppressive structures around her.
Rebecca S. Mickle, in the dual role of producer and lead actor, delivers a riveting performance as the Narrator. Her portrayal of a woman’s descent into madness is both nuanced and visceral, capturing the essence of Gilman’s character with a raw and compelling energy. Mickle’s commitment to the role is evident in every gesture and expression, embodying the turmoil and rebellion brewing within her character.
John, played by Heath Camlis, and Jennie/Woman, portrayed by Kiarra McLellan, complete the cast, each adding depth to the story. Camlis’ John is the the perfect 19th century patriarchal figure, his demeanor and actions subtly contributing to the suffocating atmosphere that drives the Narrator’s obsession with the wallpaper. McLellan seamlessly shifted between the caring yet complicit sister-in-law Jennie and the mysterious Woman within the wallpaper, a symbol of the Narrator’s inner turmoil and desire for freedom.
The play’s technical aspects, under Ezra Poku-Christian for sound and lighting, amplify the eerie and oppressive atmosphere. The lighting shifts cleverly mirror the protagonist’s mental state, while the sound design intensifies the sense of confinement and despair. Elissa Weir’s costume design effectively reflected the Victorian era within the intimate confines of a local play, subtly underscoring the societal constraints of the time.
Fay Lynn’s direction deserves special mention for its ability to maintain a delicate balance between the psychological thriller elements and the underlying feminist themes. The play does not merely present a woman’s descent into madness but rather uses this as a vehicle to explore broader issues of autonomy, mental health, and the historical treatment of women. It’s touches of horror shake up the story and give it more urgency.
A unique and commendable feature of this production is the post-show Q&A sessions, as mentioned by Mickle in her interview with 519 Magazine. These discussions not only delve into the historical significance of the story but also connect it to contemporary issues, fostering a deeper understanding and engagement with the play’s themes. The majority of the audience stayed to talk about it, driving home the fact that this was an important and powerful piece that was staged at just the right time.
In essence, Windsor Feminist Theatre’s “The Yellow Wallpaper” is a powerful blend of psychological horror and feminist discourse. It is a thought-provoking piece that resonates as much for its artistic merit as for its relevance to ongoing discussions about women’s autonomy and mental health. And it has Windsor theatre goers talking.
“The Yellow Wallpaper” continues for three more shows from Jan. 25-27 at The Shadowbox Theatre. Visit the Windsor Feminist Theatre online.
